In the solo exhibition at Taipei Fine Arts Museum in 2012, cover, I invited participants to cover their memories at the exhibition and to retrieve them when the exhibition was over, during which artist and individuals revealed their life stories to each other. In the solo exhibition in 2014, based on the transformations of my own texts, flesh, and matters, I engaged in the discourse of the definition of “disappear”. In 2015, I elaborated on “fear” and “desire”. The fear is about being blind and the separation of relationships, while light bestows forms to all beings and creates the desire for sight. The two usher in the senses of completeness and rupture.
For each creative work, I do not discover stories solely from my own, but put myself in the work to observe, select, and digest my position to the outer world in the duration. Over the past three years, out of fear, I have become more and more open-minded to the contact and contemplation over faith - something that should guide people to find their own divinity and morality so as to capture the coexistence of shadow and light.
“In the mid-eighteenth-century Paris, Diderot led a group of scholars to write the great collective work Encyclopédie. Firstly, that the blind is positively deemed as ‘the different others’ is a cosmos order and logic of the blind’s that can be compared with the one we originally see as self-evident. Diderot held a position that people’s senses share vital relation to knowledge and that because the senses of mankind are diverse, the knowledge and the ideas derived from the knowledge shall be diverse as well.”
The definition of “blind” is also changing bit by bit in my works. “Blind” is not the inability to see, but the alternative existence of something once in visual form. The same applies to the existence of God to me as well.
Over the past period, departing from “what God is”, “how God looks like”, and “how it feels like in His presence”, I came up with a series of works recorded in images. Nevertheless, these works will not be showcased at the exhibition as if nothing ever happened in the venue. “Emptiness” and “nothingness”, “blank” and “being”, and “existence” and “eternity”, by which I aim to see the correlation between the intangible synesthesia in artistic experience and the abstract experience in faith as well as to converse on the paradox of sight’s existence.